Ed Potton

Each change of tone is handled with sinuous ease by Baker, one of the best independent directors, who is finally getting the props he deserves.

Mike Leigh and his leading actress Marianne Jean-Baptiste have created a bilious protagonist to rank alongside Jack Nicholson’s ornery grouch in As Good As It Gets and David Thewlis’s scabrous drifter in Leigh’s own Naked.

Robinson's curlicued dialogue and the excellent performances make for rich entertainment; the fusion of writing and acting is particularly fine in the case of the drunken, self-consciously eccentric Withnail, whose many great lines are perfectly delivered by Richard E Grant.

This kind of unhinged ambition is what cinema does better than anything else.

This is a celebration of the King doing what he did best, and loving every second.

Skarsgard and Reinsve are excellent as two damaged people who are only able to open up when they’re working, but you yearn for the film itself to open up. It’s an intriguing premise, stylishly executed but sometimes lacking a bit of heart.

This is a story that is perfectly weighted between bleak and warm, poignant and irreverent.

It's just Spielberg badly rehashed, poorly reheated, lukewarm and with extra treacle.

It’s knotty stuff for a first film but Lighton finds a delicate balance between disturbing, funny, sweet and sad.

The result feels like a Gabriel García Márquez novel with a rocket under its bum.

It’s a decent film about an underexplored subject and adequately acted by a cast of inexperienced unknowns, but nothing we haven’t seen before from the determinedly low-key Dardennes.

Boon’s already considerable charisma is somehow magnified by Tommy’s incarceration and Graham and Riseborough prove yet again that they can find humanity in even the most disturbing characters. Please let this not be their last joint project.

This being Reichardt, white-knuckle thrills were unlikely to be on the menu either, but you would have hoped for something to engage with beyond a vague hum of disappointment.

This film isn’t particularly new or original but it’s just like its predecessors, which is more than enough.

Malek is excellent as Jimmy George, an actor and singer in Eighties New York who is starring in a musical revue, as is Tim Sturridge (The Sandman) as Jimmy’s loyal boyfriend and nurse.

Like many films at the festival this year The Dreamed Adventure is too long, but a running time of almost three hours does let you get under the skin of Veska, played with grit, soul and wit by Yana Radeva.

The film is very much a paper tiger — what feels at first like a prestige production is ultimately toothless and unconvincing.

The sense of hallucinogenic sweatiness won’t be to everyone’s taste but [Garland] and Boyle should be applauded for taking such big swings and having the flair and confidence to pull them off. It’s an astonishing piece of work.

A sensual reframing of a story that must still be raw for Simón, 38, the film doesn’t quite match the subtlety and originality of Summer 1993. It’s a satisfying enough addition to the saga, though, and a fillip for the Galician tourist board.

Sometimes, a couple of scenes can make all the difference.

Concert films are often an underwhelming proxy for a fine night out, but Cameron’s technical virtuosity and storytelling verve bring the whole shebang to life — as does shooting in 3D. I’m no Eilish superfan, but I enjoyed it a lot more than the last Avatar flick.

Perhaps most delightful, though, are the carefully drawn supporting characters, with welcome returns for Flash the sloth and Maurice LaMarche, the Vito Corleone-esque arctic shrew. Truly an offer you can’t refuse.

[A] warm and hilarious comedy drama.

It doesn’t hang together as well as its predecessor, Drive-Away Dolls, it still offers some throwaway wickedness.

The film is cooler emotionally than Almodóvar’s early work but full of wit and self-awareness.

Howard makes a fine straightwoman, however, in a film powered by the gaucheness of Mohammed and the ridiculousness of Bloom.

Like the man, this film isn’t sentimental but gosh, it packs a punch.

Coward is sweetly played and elegantly mounted but there’s little here that really surprises.